Poco - A Good Feelin' To Know

 #Poco #Richie Furay #Timothy Schmidt #Jim Messina #Randy Meisner #country rock #folk rock #ex-Buffalo Springfield #pre-Eagles #1960s #1970s

For Poco – or Pogo, as they were initially called – the presence of George Harrison, Doug Dillard and Janis Joplin at their shows was surely a sign that they were going to join that aristocracy. On their debut gig they supported the well-established Nitty Gritty Dirt Band and blew them off stage. A banjo player and wannabe comedian called Steve Martin became their regular warm-up act as Hollywood flocked to catch this new sensation. Influential LA Times rock critic Robert Hillburn said Poco were destined for the top and, with Jackson Browne and Linda Ronstadt offering their congratulations, they believed him. But Poco didn’t become the next big thing. Or the one after that. Their story is one of temptation and corruption, thieving managers who doubled as drug dealers, openly internecine hostilities, and a side order of rampant ambition and green-eyed jealousy.
Poco were formed from the ashes of Buffalo Springfield after Neil Young effectively quit that group for the last time following a drugs bust in March 1968. During a noisy jam session at Stephen Stills’s Topanga Canyon ranch, irate neighbours called the cops. Hearing the patrol cars, Stills escaped through a back window, while the Malibu sheriff rounded up Cream’s Eric Clapton and three Buffalos – Young, Richie Furay and Jim Messina – and hauled the brain-mushed stoners off to the LA County jail, where they spent a weekend in the cells with a bunch of Black Panthers who admired their shiny hair and pink boots. Severely traumatized, Young stuck around merely for a farewell show then got out of Springfield in the same Pontiac hearse with Ontario number plates on it that he’d arrived in – and with the master tapes for his solo album. Cut adrift, Furay and Messina immediately began rehearsing a new band, with the Springfield’s nominal guitar tech Rusty Young, a pedal steel ace who could play anything with strings on it, and his drummer friend George Grantham.
“Me and Jimmy started Poco,” says Furay. “I’d been the frontman in Springfield but it was Stills’s band. Neil was restless; he had too many agendas. We bossed places like the Whisky, the Palladium and the Troubadour, but there were too many Canadians with immigration problems in the group and it just fizzled out.” Or as Young said: “We thought we’d be together forever. But we were just too young to be patient.” Everybody knew that was nowhere. Rusty Young recalls the early days: “I came from Denver to play on a Richie song called Kind Woman for the Springfield’s Last Time Around sessions, only to find they’d broken up. Richie and Jim had this concept – to mix country and rock with banjo, mandolin and dobro. It was a new idea. We searched Los Angeles for recruits.
"We tried out Greg Allman on organ, and Gram Parsons way before he joined The Byrds. They released Sweetheart Of The Rodeo using our sound, which Gram took from us and taught them. It was typical that they beat us to the punch so everyone thought we were copying them. Gram was into George Jones; there was no rock in his country at all. It’s a myth that Gram invented country rock. Chinese whispers. It became the truth, but it was an absolute lie. Sure, he formed the Flying Burrito Brothers. But only because he’d played with us." Furay, originally a pleasant farm boy from Ohio, had more reason to admire Parsons: “I knew him when we were folkies in New York City. He played me The Byrds’ first album and prompted me into that music. But I’m definitely a pioneer, because it was Poco who broke down barriers between hippies and rednecks. Country clubs, even in California, were real intimidating places. Watch out if you had moderately long hair."
With Buffalo Springfield’s accounts in disarray, and the Troubadour’s Doug Weston paying absolute bottom dollar, action was necessary. “We had no money at all,” says Rusty Young. "Our manager, Dickie Davis [Springfield’s road man], had dozens of airline tickets spread on a table. One was for Neil Young, who never turned up for gigs half the time. The name said ‘Mr. N. Young’, and since my middle name is Norman - Neil got our band off the ground.” Having enlisted bassist Randy Meisner, Poco were slow off the mark as a recording act, and had trouble settling on a band name after running into a legal battle with Walt Kelly, the creator of the wildly popular Pogo The Possum newspaper cartoon character. They flirted with calling themselves RFD (standing for Rural Free Delivery), before returning to the Troubadour in their new guise, wearing cowboy gear stitched by wives and girlfriends. Stardom seemed but a step away.  From: https://www.loudersound.com/features/how-poco-invented-a-brand-new-sound-only-to-have-it-stolen-by-the-eagles

Poco - C'mon

 #Poco #Richie Furay #Timothy Schmidt #Jim Messina #Randy Meisner #country rock #folk rock #ex-Buffalo Springfield #pre-Eagles #1960s #1970s #Beat-Club

The great Southern Californian country-rock group Poco can take a large amount of credit for forging a path through the roots and heartland of their chosen sound. Richie Furay and Jim Messina already had the reputation and the chops since they’d been fundamental to the success of Buffalo Springfield. The multi-instrumentalist Rusty Young added a flavour of pedal steel and six-string virtuosity while George Grantham’s drums and Randy Meisner’s lucid bass and distinctive harmony vocals completed a panoramic view of contemporary Troubadour era rock culture with an eye on the mythic Western past.  From: https://www.udiscovermusic.com/artist/poco/

Poco’s first two studio albums and Deliverin’, the live set from 1971, represent some of the best country-rock laid down to wax.  The tracks were taken from two recorded live shows: Boston’s Music Hall and New York City’s Felt Forum.  If you’re into this kind of music, Deliverin’ represents a kind of peak or pinnacle for the genre.  If only for the powerful playing, tight performances and Rusty Young’s brilliant, often underrated steel guitar work.  It’s easily one of the best live discs of its time; a better played and more enjoyable listening experience than say the Rolling Stones’ Get Yer Ya Ya’s Out.  Furay and Messina are in great spirits too, often lifting the mood and interplay between the musicians.  That’s what makes Deliverin’ so essential; the positive attitudes and vibrant mood of the musicians.  This music soothes the soul and lifts spirits; it’s good listening when you’re having a bad day or going through the motions.  But there’s also depth here too, these tunes will stick in your head for days.
Deliverin’ is high energy, hard hitting country music that mixes new group originals with tracks from Poco’s first two albums and a few Richie Furay penned Buffalo Springfield era gems.  “Kind Woman”, a great, great song, is given a 5 minute rendition while “A Child’s Claim To Fame” is the center of a brilliant medley which also includes “Pickin’ Up The Pieces” and the awesome “Hard Luck.”  They rock the hell out of album opener “I Guess You Made It” and nearly burst into flames on an acoustic version of “You’d Better Think Twice,” which was one of their all-time classics (a small radio hit too).  Deliverin’ ends with another great medley that is mostly comprised of songs from Poco’s superb debut. Not a wasted moment here.  This is Jim Messina’s swan song with the group as he would leave shortly after, forming the Loggins & Messina duo with Kenny Loggins of course.  Deliverin’ shows us why Poco was one of the great American bands.  From: https://therisingstorm.net/poco-deliverin/